In Praise Of | Little White Lies

In Praise Of

In Praise Of

Why 49th Parallel is one of the most cunning war films ever made

by Sam Manning

Michael Powell and Emeric Pressburger employed propaganda to potent effect in their 1941 submarine drama.
In Praise Of

In defence of Darren Aronofsky’s The Fountain

by Simon Bland

Dismissed as a self-indulgent folly upon release, this fatalistic fantasy drama deserves a second look.
Film Music

How The Beatles’ Magical Mystery Tour pioneered the visual album

by Mark Allison

In 1967, the Fab Four embarked on an extravagant, experimental journey that would redefine what a promotional film could be.
In Praise Of

Why The Portrait of a Lady remains Jane Campion’s most bittersweet film

by Kayleigh Donaldson

Twenty-five years on, this adaptation of the classic Henry James novel offers an unflinching study of female sorrow.
In Praise Of

How Duel paved the foundation for Steven Spielberg’s career

by Mitchell Beaupre

This made-for-TV feature has all the trademarks that would go on to define one of America’s most acclaimed filmmakers.
In Praise Of

Kōji Shiraishi’s Noroi is a found footage horror like no other

by Kitty Richardson

Unlike most possession-based pseudo-documentaries, this 2005 J‑horror delivers its biggest scares in broad daylight.
In Praise Of

Why Secrets & Lies remains a masterclass in framing

by James Morton

Director Mike Leigh emphasises the lack of connection between the characters, and British society as a whole.
In Praise Of

Why I love Ellen Burstyn’s performance in The Last Picture Show

by Rafa Sales Ross

She inhabits the role of the frustrated housewife in Peter Bogdanovich’s 1971 drama with apparent effortlessness.
In Praise Of

In defence of Halloween: Resurrection

by Oumar Saleh

In breaking from franchise tradition, this maligned 2002 slasher foreshadowed the rise of live streaming and viral fame.
In Praise Of

Nothing Gold Can Stay – In praise of Francis Ford Coppola’s The Outsiders

by James Clarke

This teenage drama from 1983 is the pinnacle of the director’s career-long obsession with the passage of time.

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